Argo (2012)

Argo is the third film by Ben Affleck, the actor now deep into a parallel career as a director and proving not only be a virtual natural at the job, but clearly that he takes it seriously compared to some other peers of his who have attempted the same thing in recent years. Affleck is heading towards George Clooney and Sean Penn territory; David Schwimmer and Helen Hunt are not for example. One of the reasons his potential seems to be being realised has a lot to do with his screenplay choices, and Argo is no exception; a true story based around the rescue of six US Diplomats from Tehran during the 1979 Iran hostage crisis by CIA operative, Tony Mendez. Not exactly lite material, but one with the mixed potential to be either an intelligent adult thriller or ham-fisted flag waving cliché. So where does Affleck take it? Under the guidance of producers Clooney and Grant Heslov, thankfully – and not surprisingly – it is the former, if still constructed in a way for the mainstream to embrace a "serious event". The plot, extending to the fact that Mendez’s plan for the attempted rescue is to impersonate a Hollywood producer looking to film a B-grade sci-fi turkey in Iran, also gives the director plenty of flexibility to add humour and satire into the mix and ultimately that element allows it to become the crowd pleaser Affleck clearly saw the potential of it being.

Of the two films he has directed so far, one is an exceptional debut, but slightly overrated final product (Gone Baby Gone), the other, an exciting genre piece that is missing only a handful of ingredients that stop it from becoming a cult classic (The Town). Argo is a further step into better, more mature and broader appeal cinema for Affleck. It is an accomplished effort that although is reminiscent of a film like Syriana, it, like his two previous films, still lacks a major punch to take it to the level of exceptional, though it may be the best executed of the three so far. Affleck is determined to keep his audience entertained and on the edge of their seat rather than drag out too much political jargon or exposition. Syriana almost demanded to have its serious tone dictate throughout its story despite it being fiction and Argo not. Affleck’s goal is to be not too heavy and not to soft, and the film is a better overall experience for him achieving that (and Syriana, - a much better film - was for achieving what it did), ultimately matching mainstream adult expectations. There are only a handful of films like these released into the multiplexes every year, so for any flaws or fluffing of facts it may contain, they are omitted cleanly by the wit on display, intelligent dialogue, proper suspense and above all, performances from an impressive ensemble. It is now clear that Ben is slowing becoming a notorious actor’s director.

Affleck himself plays Mendez; a role hard to pigeonhole as being either very difficult to play or a fairly standard essay. Proven to be a competent performer, the director does appear to be getting better with age and his character quickly convinces us of his morals and determination without cliché. Fairly esteemed character actors round out Affleck’s main entourage and the likes of Bryan Cranston, John Goodman and Alan Arkin all provide weight in each of their respective roles. Arkin in particular as a washed up movie mogul has the most fun and provides the majority of humour when it does seep into the chiefly intense storyline. The real standouts however, are the six diplomats in hiding played by a variety of former some-bodies (Tate Donovan), TV names (Clea Duvall) and little known up and comers (Scoot McNairy). All the actors fill their roles with the believability of fear and doubt, their future and their lives unknown. The script gives everybody enough room to make an impact and become an identity which, in a film that is aiming to entertain rather than educate, is an achievement in itself. I can only imagine if someone like Edward Zwick had directed this film.

The precise, robust assembly of the movie is the most noticeable thing about Argo, and more specifically, how Affleck handles his mere third film like an established heavyweight from opening frame to the enlightening ending credits - Clooney no doubt provided pointers. The framing and pacing is confident and the director knows exactly how long to hold the suspense bordering on becoming excruciating and ridiculous. Are there elements of the true story enhanced for dramatic effect? No doubt; Are some of the Iranian instigators drawn a little thug and bad guy-ish? Probably. Indeed, the final act is such edge of the seat stuff, it couldn’t possibly ring true. All in all, none of it matters by that stage as you’re too involved, too close to that edge and that’s no fluke. Affleck has learnt how to do this properly and will only improve as a filmmaker as his portfolio grows. This is broad entertainment packaged as an intelligent, political thriller. It’s not concerned about being overly topical or documentary-like in its execution, just to be something adult audiences can enjoy without requiring their brain to be totally on or off, feeding more off raw emotion and old-fashioned movie entertainment values. In that sense, Argo delivers on virtually all levels.

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